High Plains Drifter 1973

A Stranger (Clint Eastwood) rides into in the dusty mining town of Lago, where the townspeople are living in the shadow of a dark secret. After a shoot-out leaves the town's hired-gun protectors dead, the town's leaders petition the Stranger to stay and protect them from three ruthless outlaws who are soon to be released from prison. The three have their sights set on returning to Lago to wreak havoc and take care of some unfinished business. A series of events soon has the townspeople questioning whether siding with the Stranger was a wise idea, as they quickly learn the price that they each must pay for his services. As the outlaws make their way back into Lago, they discover that the town is not exactly as they had left it, and waiting in the shadows is the Stranger, ready to expose the town's secret and serve up his own brand of justice.

From IMDB:

10/10
My Favorite Clint Eastwood Western

Warning: Spoilers
While other Clint Eastwood westerns have received more fanfare (The Outlaw Josey Wales and Unforgiven come to mind), this is my favorite of them all. This most certainly isn't your Daddy's traditional John Wayne fare, and those expecting to see as such will be surely disappointed or at the very least surprised. Eastwood made a name for himself in the 60's as the "Man With no Name" in several Sergio Leone spaghetti westerns, and he continues this anti-hero character in 1973's High Plains Drifter, a dark revenge fantasy many viewers (mistakenly) think has supernatural elements to it.

Eastwood rides into the town of Lago and immediately guns down three "troubleshooters" who goad him into a fight. We quickly find out the dead men had been hired to protect the town from three other criminals who are due to get out of a territorial prison and seek revenge on those in Lago who had been responsible for their imprisonment. Realizing he is their best chance to save the town and themselves from impending destruction, several town leaders unsuccessfully seek his help. After initially refusing their request, Eastwood relents when he is promised "anything he wants" in exchange for his services. Throughout the film he takes full advantage of the town's offer through humiliating requests, outrageous demands and inconveniencing its many residents- while ostensibly setting up an ambush for the arriving criminals.

We find out through a recurring dream that former sheriff Jim Duncan was whipped to death in the center of town while cowardly townspeople watched and refused to help. Eastwood's arrival is no accident: it is implied much later in the film (and by Eastwood himself off camera) that he is the brother of the dead sheriff out to seek justice, thus explaining his no-nonsense demeanor and harsh treatment of the townspeople.

We root for the Eastwood character not because he is a genuinely good person but because everyone in town is either crooked (the mining officials), gutless (bartender, barber, sheriff) or simply unable to stand up for themselves (the women, the midget). We revel in Eastwood's actions simply because everyone else receives their just comeuppance. This film is well acted, well paced and entertaining. Present are many fine character actors- Mitchell Ryan, Stefan Gierasch, Walter Barnes, Geoffrey Lewis, and many others- who all lend to the enjoyment of the film. A must view for all Eastwood fans and another fine addition to his outstanding canon of work.

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